âThis is far more than a study of local history, and more even than a provocative interpretation of the social sources of religious revivalism. It is a brilliant pioneering assault upon the most important unaddressed problem in American historiography--how our society and very personalities were transformed by the rapid advance of the capitalist market in the earlier nineteenth century.â âCharles Sellers, University of California, Berkeley
âJohnson's book is indispensable for any understanding of the evangelical revival and related reform movements in New York's 'burned-over' district. No less important, Professor Johnson has brilliantly fused the quantitative methods of the 'new social history' with a sparkling style and an imaginative reconstruction of social reality. Both in substantive conclusions and as a model for future regional studies, A Shopkeeper's Millennium is one of the freshest and most exciting books I have read in the past few years.â âDavid Brion Davis, Yale University
Cantwell's models were used to sell the befuddling screenplay, but Lucas also started bringing on storyboard artists, the first of which was Alex Tavoularis (hired mid-February 1975).
Here follows a mix of storyboards from the opening of the film, showing the ‘Princess Ship’ or Rebel Blockade Runner, as well as a sequence showing the Pirate Ship arriving at the Imperial prison on Alderaan, a location which was later combined with the Death Star (the floating city concept of course ended up as Cloud City in The Empire Strikes Back).
They are presented in the order they appear in Star Wars Storyboards (I've left out non-starship boards) and it soon becomes obvious just how fluid the two designs seemed to be at this stage of production.
Presumably there was a bit of overlap between these projects as the design was getting settled on, and Tavoularis would bring over whichever details he remembered from when he last saw the model, or from on-going conversations between Lucas, McQuarrie, Johnston, Gary Kurtz and anyone else around.
Similarly the cockpit goes from one that is similar only in overall shape to Cantwell's second design, but with different windows (suggesting perhaps that Johnston's drawing came first, since it doesn't show the cockpit from the front), to one that is similar to the second Cantwell model (with slitted windows all the way around the cockpit), to the final one, which is more akin to what we know as the actual Falcon cockpit.